Bharata Muni
| ← Chapter 8 | Chapter 10 → |
MAY THERE BE GOOD NĀṬYA ŚĀSTRA /THE SCIENCE OF THEATRE/
recorded by the enlightened Bharata.
So, chapter nine in the Nāṭyaśāstra of Bharata.
1/ Thus, I have narrated what pertains to the positions of the head, eyes, eyebrows, nose, lips, and cheeks.
2/ Now I will give you the true description of the positions of the hands, chest, sides, abdomen, thighs, legs, shins, and feet, as well as their application.
3/ Listen then to what I will tell about abhinaya, which is used in Nāṭya, beginning with the positions of the hands (hasta).
4/ Pātāka, tripātāka as well as kartarīmukha, ardhacandra, ārala and also śukatuṇḍa,
5/ muṣṭi and śikhara, kapttha and khaṭakāmukha, sūci, padmakośa, as well as sarpāśīrṣa and
6/ mṛgaśīrṣa, well known to performers of hastābhinaya, also kaṅgula and alapadma, catura and bhrāmara,
7/ haṃsa, haṃsapakṣa, as well as sandāṃśa, mukula, ūrṇanābha and tāmracūḍa – 24 hastas in total.
8/ I will give explanations regarding the use of both a single hand and two hands simultaneously (asanyuta and sanyuta). Añjali, kapola, karkaṭa and svastika,
9/ khaṭakāvardhamana and also utsaṅga and niṣādha, dolā, puṣpapuṭa and makara,
10/ as well as gadžadanta, avahittha and vardhamāna – these are the 13 positions of two hands (sanyuta) that I have described.
11/ Next, I will explain what is called the dancing hand (nṛttahasta). Caturasra, udvṛtta, and also tālamukha, as tradition states,
12/ svastika-viprakīrṇa, arālakhaṭakāmukha, aviddhavakra, sūcīmukha, recita and ardha-recita,
13/ uttānavañcita and also pallava, nitamba and keśabandha,
14/ also karihasta, latākhya, pakṣāvan̄cita and pakṣapradyota,
15/ garudapakṣa and daṇḍapakṣa, ūrdhvamaṇḍala and pārśvamaṇḍala,
16/ ūromandala and urasparśvārdhamandala, muṣṭikasvastika and nalinīpadmakośa,
17/ alapadmavulbana and lalita-valita as well. Thus by me are named the names of the 67 positions of the hands.
18/ Now I shall give a description of these positions. If all fingers are extended forward in a natural manner, and the thumb is bent, then this position of the hand is known as patāka.
19-26/ (Usage): To indicate the striking of blows, scorching heat, urging, the attainment of happiness, and haughty behavior toward oneself, this hand should be raised to the level of the forehead. To depict the radiance of heat, a torrential downpour, and a shower of flowers, two Patāka hands with spread and moving fingers should be joined together. A shallow body of water with flowers, grass, and any design [lit. object] made on the ground should be represented by two such hands, separated from the Svastika position. Identical Patāka hands with fingers pointing downward should be used to denote something closed, open, protected, covered, dense, or private (to be hidden). This same hand with fingers pointing downward and moving up and down should express the swift motion of wind and [ocean] waves, [ocean waves] breaking against the shore, and objection. The Recaka of this hand should be used to denote encouragement, a large number of people, a great crowd of people, height, the beating of drums, and the upward flight of birds. And everything that is washed, pressed, cleansed, pounded, or that which supports a hill, should be represented by the palms of two such hands rubbing against each other. This is also the manner of depicting a man and a woman.
26-32/ Tripatāka (flag with three fingers) — the bent third finger of the Patāka hand.
(Usage): It should be used to denote a call, a descent, a farewell, a prohibition, an entrance, the lifting of [something], a bow [in greeting], a comparison, the offering of alternatives, the touching [of the head] to auspicious objects or placing them on the head, the tying of a turban or crown, and the covering of the mouth or ears. This same hand with fingers pointing downward and moving up and down should be used to depict the flight of small birds, a stream, a snake, bees, and the like. And with the third finger of Tripatāka, one should depict the wiping away of tears, the drawing of a Tilaka or Patralekhā, and the touching of the hair.
32-37/ Two Tripatāka hands held in svastika symbolise the worship of the feet of venerable persons (guru). Two such hands meeting each other symbolise marriage. Separated and directed towards the forehead, they denote a king. Inclined to form a Svastika, they represent the planets. As a sign of asceticism (austerity), they should be raised with the palm facing forward. To depict a door, they should face each other. Submarine fire, battle, and sea monsters should be denoted by two Tripatāka hands that are first raised near the face and then moved with the fingers pointing downward. With these same hands, the leaps of monkeys, waves, wind, and women should be denoted. To show the crescent moon, this hand should extend the thumb forward, and to indicate the march of a king [against his enemy], this hand should turn backward.
38-40/ Kartarīmukha (scissors blades) — the index finger of the Tripatāka hand should be bent backward.
(Usage): This [hasta], directed downward, will symbolize showing the way, adorning the feet or coloring them, as well as crawling [of infants]. Fingers directed upward will depict biting, a horn, and letters. And when the fingers in it are turned differently (i.e., the middle finger is bent back), it will symbolize falling, death, a transgression, reversal, reflection, and trust.
42/ And with two such (samyuta) hastas or with one such (asamyuta) hasta one should depict an antelope, a yak, a buffalo, the celestial elephant (airāvata), a bull, a gate (gogura), and the top of a hill.
42-44/ Ardhačandra (half-moon) — the fingers and thumb are bent so that they form a curve resembling a bow.
(Usage): Here may be represented young trees, the crescent moon, a conch shell, a pitcher (kalaśa), a bracelet, opening with effort, tension, thinness, and drinking. With this hasta of Ardhaćandra, women should depict the girdle, hips, waist, face, Talapatra, and an earring.
45-50/ Ārala — the index finger is curved like a little bow, the thumb is also curved, and the remaining fingers are spread apart and turned upward.
(Usage): With it one should depict courage, pride, valour, beauty, contentment, heavenly [objects], equanimity, the act of blessing, and other auspicious states. And this will also represent the gathering or loosening of a woman’s hair and the careful examination of her entire body. The preliminary stages of marriage, the bride’s circumambulation around the groom, and the [nuptial] union should be represented by two Arāla hands moving around each other, and their fingers meeting in the form of a Svastika. And with the same hands one should depict circumambulation, round objects, a great crowd of people, and objects arranged on the ground. It is also used to summon someone, to make offerings to the manes, to speak too many things, to censure and reproach, etc., to wipe away sweat, and to enjoy a sweet fragrance; previously the Tripatāka hands were prescribed for this, but women should use the Arāla hand.
51-53/ Śukatuṇḍa (parrot’s beak) — the ring finger (third finger) of the Arāla hand is bent.
(Usage): Thus should be presented such words as “(This is) not I,” “(This is) not you,” “(This) should not be done,” an appeal, a farewell, and the utterance “Fie (upon you)” with contempt.
54-55/ Muṣṭi (fist) — the fingertips [are bent] into the palm, and the thumb [is placed] on them.
(Usage): It is used to denote beating, exiting an exercise, pressing, washing the head, seizing swords and spears, and clubs.
56-57/ Śikhara (peak) — in this same hand (muṣṭi) the thumb is raised.
(Application): This hasta is used to denote reins, a whip, a goad, a bow, the hurling of a spear (tomara) or a spike (śakti), the coloring of lips and feet, and the lifting of hair.
58-59/ Kapittha (elephant apple) — bend the index finger of the Śikhara hand and press it with the thumb.
(Usage): He presents such weapons as the sword, bow, discus, spear (tomara), lance (kunta), mace, spike (śakti), thunderbolt, and arrows, true and useful deeds.
60-63/ In Katakāmukha, the ring finger and little finger of the Kapitha hand should be raised and bent.
(Usage): It is used to denote sacrifice, offering, an umbrella, raising the reins, a fan, holding a mirror, drawing [patterns], powdering, taking large sticks, laying a pearl necklace, wearing garlands, gathering the ends of garments, churning, drawing out arrows, plucking flowers, wielding a long whip, pulling out a goad, a rope, and also depicting a woman.
65-71/ Suchimukha — the extended index finger of the Katakāmukhī hand.
(Application): I will briefly tell you about its various applications. In this hasta, the index finger is raised and bent, moves to the side, shakes, moves up and down, and moves upward without any rest. Directing the index finger upward [in this hand], one should depict a disc, lightning, a banner, flowers, an earring, a zigzag movement, a cry of approval, a young snake, a young sprout, incense, a lamp, creepers, Śikhaṇḍa, falling downward, curvature and roundness, and with the raised index finger this [hand] should again be used for [depicting] stars, the nose, [the number] one, a club, and a stick. And [this hand with the bent index finger] should meet the mouth to depict a creature with teeth, and with a circular movement of this hand one should depict the taking away [from a person] of everything. And the index finger in this hand should be quite close to food when yawning, and the mouth is lowered to symbolize long study and a long day. The same with the bent finger near the face, to depict an offer. And to indicate “no” or “speaking,” the index finger should be extended, shaken, and raised upward.
72-75/ This hand should be shaken to symbolise anger, sweat, hair, an earring, a bracelet, and the adornment of the cheeks. And to represent pride: “I”, the enemy, “Who is this” person? And when scratching the ear, it should be held near the forehead. [And two Sūcīmukha hands] should be joined to symbolise the union [of people], and be separated to indicate separation, and to denote a quarrel the two hands should be crossed, and to show bondage they should press against each other. Two sūcīmukha hands, turned towards each other and held apart on the left side, denote the end of the day, and on the right side — the end of the night.
76/ This hand, directed forward, will denote [any] form, stone, whirlpool, mechanical device, and hill, while for depicting the offering of food, the same hand movement directed downward is required.
77/ To represent Śiva, this hand, directed downward, should be held close to the forehead, and to denote Śakra (Indra), this hand should be raised [to the forehead] and drawn across it.
78/ With two such hands one should depict the disc of the full moon, and to denote the ascent of Śakra (Indra) (i.e., the raising of his banner), it should be held close to the forehead.
79/ [This hand], moved along the entire perimeter, will represent the circle of the moon, and, to indicate the [third] eye of Śiva, it should be held at the forehead, and in the case of Śakra (Indra), [the eyes] should be raised obliquely.
80/ Padmakośa (lotus bud) — separate the fingers, including the thumb, and bend their tips, but do not let them touch each other.
81/ (Application): To depict the fruits of Bilva and Kapittha (wood apple) and a woman’s breast [this hand should be used]. But to depict the taking [of these fruits] or flesh, this hand should be slightly bent at the end.
82/ [This hand] should be held [to show] the offering of pūjā to the deity, the giving of alms, a coffin, the offering of the first funeral cake, and several [small] flowers, which should also be denoted by the Padmakośa hand.
83/ Two such hands with moving fingers, joined at the wrist and turned backward, will represent a blossomed lotus and a water lily.
84/ Sarpashiras (snake head) — the fingers, including the thumb, should be close to each other, and the palm should be concave.
85/ (Usage): It is used to denote the offering of water, the movement of snakes, the pouring of water [over something], the challenge [to a duel], the movement of the elephant’s frontal globes (kumbha), and the like.
86/ Mṛgaśīrṣa (deer head) — the hand of Sarpaśīrṣa, all fingers of which are directed downward, but the thumb and little finger are raised upward.
87/ (Usage): He moves to represent here and now, “He is,” today, capable, trembling (ullāsana), casting dice, wiping sweat, and feigned anger.
88/ Kangule — the middle and index fingers, as well as the thumb, should be separated, the ring finger should be bent, but the little finger raised.
89/ (Usage): This should be represented by various unripe fruits and angry words of women.
90/ Alapallava (Alapadmaka) — all fingers are turned toward the palm, stand on the side, and are separated from one another.
91/ (Usage): It should be used to denote prevention, with words such as “Who are you from,” “This is not so,” “Nonsense,” and a woman’s hint at herself.
92/ Chatura — four fingers are extended, the thumb is bent near the middle finger.
93/ (Usage): It should be used to denote politics, discipline, repentance, mind, a young maiden, a sick person, treachery, gambling, correct words, saving truth, and tranquility.
94/ One or two such hands, moving around, should symbolize openness, deliberation, movement, supposition, and shame.
95/ The two hands of Caturā are lotus petals in comparison with the eyes and ears of a deer.
96-98/ Besides this, the hand Catur indicates sport, love, brilliance, memory, intellect, judgment, forgiveness, nourishment, consciousness, hope, attachment, reasoning, union, purity, mind, sweetness, favour, gentleness, happiness, good conduct. It is need, question, means of livelihood, propriety, clothing, soft grass, a small quantity, wealth, defeat, sexual intercourse, merits and demerits, youth, houses, wives, and various colours of skin.
99/ [To show] the white color, (Caturā’s hand) should be raised upward; red and yellow are indicated by moving it in a circle, and blue by pressing [one such hand against the other].
100/ Bhramara (bee) — the middle and thumb fingers cross, the index finger is bent, the remaining two fingers are spread apart and raised.
101/ (Application): Used to denote the gathering of flowers with long stems, such as the blue lotus, the white water lily, as well as earrings.
102/ He must fall with a sound symbolizing reproach, pride in strength, swiftness, superiority over time, and instilling confidence.
103/ Haṃsāsya (swan’s beak) — the index, middle, and thumb fingers are pressed together, while the remaining fingers are extended.
104/ (Application): It is used with a slightly pulsating end specifically to denote the subtle, small, loose, light, exit, and softness.
105/ Haṃsapakṣa (swan wings) — three fingers extended, little finger raised, thumb bent.
106-108/ (Usage): It is used to denote the libation of water and things connected with scent, the acceptance of a gift, Ācamana and the taking of food by brahmins, embraces, excessive stupefaction, terror, touch, ointment, and gentle massage. According to the sentiment, it can again be used to denote the amorous actions of women concerning the area between their breasts, their sorrow, and the touching of the chin.
109/ Sandamśa (tongs) — the index finger and thumb of the Arāla hand are crossed, and the palm is slightly cupped.
110/ Sandamśa (hand), according to feelings and states, is of three kinds, namely, that which [is held] in front, that near the mouth, and that on one side.
111-115/ (Usage): It represents the plucking of flowers, picking up grass, leaves, hair or threads, and holding or pulling out an arrow or thorn. Sandamśa should be held in front of oneself. To depict the removal of a flower from its stem, a wick [of a lamp], a [collyrium] stick, etc., the filling [of any vessel with anything], saying “fie [on you]” in anger, it should be held near the mouth. To depict the removal of the sacred thread, the piercing of a hole [in pearls and similar objects], a bowstring, thinness, an arrow and objects at which one aims, yoga, meditation, and a small quantity [of anything], [two] such hands should be combined. The left hand, drawn aside and slightly turned with the tip, is used to denote softness, insult, and envy. It is also used to denote drawing, coloring the eyes, reflection, endurance, drawing Patralekhā, and the squeezing out of lac dye by women.
116/ Mukula (bud) — the fingers are bent and close together, their tips meeting in the Hamsāsya hand.
117-118/ (Usage): Used to denote an offering during worship of a deity, the depiction of a lotus bud or water lily, a kiss (vita-kumbana), contempt, various things, partaking of food, counting gold coins, narrowing of the mouth, giving out [something], swiftness, and flower buds.
119-120/ Ūrṇanābha (spider) — the fingers of the Padmakośa hand are bent.
(Usage): Used to denote grabbing by the hair, retrieving stolen items, scratching the head, skin diseases, lions, tigers, and other animals, as well as seizing a stone.
121-122/ Tamrakuda (lit. copper comb, i.e. rooster) — the middle and thumb fingers are crossed, the index finger is bent, the remaining [two fingers] are on the palm.
(Usage): She should fall with a sound denoting reproach, beating time, instilling confidence, swiftness, and giving signals.
123/ This hand should also be used to denote small intervals of time, such as Kāla, Kāṣṭhā, Nimeṣa, and Kṣaṇa, as well as for conversing with a young girl and inviting her.
124/ When the fingers on the hand are positioned close to one another, bent, and the thumb is placed upon them, this [also] is called the hand Tamrachuda.
125/ This hand should be used to denote hundreds, thousands, lakhs of gold coins, and when the fingers in it suddenly begin to move freely, this will depict sparks or drops.
126/ O best of brahmins, these are the single-hand gestures described by me. Now listen to the combined hands, which I am about to describe.
127/ Añjali — The joining of two hands in Patāka is called Añjali.
(Usage): Used for greeting gods, venerable people (guru), and friends.
128/ When greeting gods, it should be held at the head; before respected persons, such as father, teacher, etc., it should be held near the face; when greeting friends, it should be placed on the chest; and in the case of other persons, there is no strict rule.
129/ Kapota (dove). Two hands (Añjali), joined only on one side, form the Kapota hand. Listen to its use.
130/ (Usage): It should be used to denote an approach with hostile intent, a bow, and conversation with a respected person. To indicate cold and fear, women should hold this hand on the chest.
131/ Hands [showing the Kapota gesture], displayed after the fingers meet, denote alarming words, or “This can be done,” or “Nothing more can be done.”
132/ Karkata (crab). When the fingers of the hands are interlaced, the hand Karkata arises.
133/ (Usage): Used to denote beeswax, massage of the limbs, yawning immediately upon waking from sleep, a large body, supporting the chin, and holding a conch [for breathing into it].
134/ Svastika. Two hands in Arāla or Vardhamāna, raised upward and joined at the wrists on the left side, form the Svastika. This hasta should be used by women.
135/ (Usage): When the hands are separated in the Svastika position, this will indicate directions, clouds, sky, forests, seas, seasons, earth, and similar [other] vast things.
136/ Kaṭakavardhamānaka. When one Kaṭaka (mukha) hand is placed on [the wrist of] the other Kaṭaka [mukha] hand, the Kaṭakavardhamānaka hand is formed.
(Usage): Should be used in movements related to lovemaking and in bows [to a person].
137/ Utsaṅga. When the hands in Ārala are positioned opposite each other, raised and bent, the resulting hasta is Utsaṅga.
(Usage): Used to denote touch.
138/ It is also used to denote acts of anger and indignation in handshakes, similar to acts of female jealousy.
139/ Niṣadha. When the hand of Kapittha surrounds the hand of Mukula, the Niṣadha hasta is formed.
140/ (Usage): Used to denote the collection, acceptance, and preservation of a doctrine, as well as to denote a brief truth; for this, both hands must clasp (each other).
140/ Ka-Kha: Niṣadha. The left hand, holding the [right] hand above the elbow, and the right hand, similarly touching the left hand with a clenched fist, form the Niṣadha hand.
140/ Usage: Indicates patience, intoxicating pride, elegance, zeal, valor, arrogance, self-conceit, haughtiness, stillness, equanimity, and the like.
141/ Dola. When both shoulders in Karana are relaxed, and two Pataka hands hang downward, the hand Dola arises.
142/ (Usage): Should be used to denote haste, sorrow, fainting, a fit of intoxication, agitation, a state of illness, and wounding by a weapon.
143/ Puṣpapuṭa — two hands of Sarpāśīra with fingers placed close to each other, meeting very closely on one side, will give rise to the hand Puṣpapuṭa.
144/ (Application): Should be used to denote the receiving or carrying of rice, fruits, flowers, food products, and lawfully obtained money of various kinds, as well as the carrying and removal of water.
145/ Makara. When two Patāka hands with raised thumbs are turned downward and placed one upon the other, the Makara hasta arises.
146/ (Usage): Used to denote the lion, tiger, elephant, crocodile, shark, fish, and other carnivorous animals.
147/ Gajadanta. Two asaṁyuta hastas of sarpaśīrṣa, touching the opposite arms between the shoulder and the elbow, form the hasta of Gajadanta.
148/ (Usage): Should be used to denote carrying the bride and groom, excessive weight, embracing a pillar, and uprooting plants or a stone block.
149/ Avahitta — When two Śukatuṇḍa hastas meet at the chest, bend, and then slowly descend, the result is the Avahitta hasta.
130/ (Usage): Should be used to denote weakness, a sigh, displaying one’s body, thinness [of body], and longing [for a loved one].
131/ Two hands of Haṁsapakṣa, lowered downward, will be known as Vardhamāna.
(Usage): Should be used to denote the opening of objects such as lattice windows.
152/ Two kinds of hastas (single and combined), briefly described, may be used in other places as well, in accordance with the rules set forth here.
153/ In play, [gestures] should be chosen according to form, movement, meaning, and class by the personal judgment [of the actor].
154/ There is no gesture that could not be used to denote [some] idea. I have described in detail all forms (literally gestures) that are usually perceived [as connected with various ideas].
155/ Besides other popular gestures associated with other ideas, they should also be freely used alongside movements inspired by the Sentiments and States.
156/ These gestures should be used by both men and women, taking into account the place, occasion, the performance being conducted, and their correspondence to the meaning.
Now I will describe the various movements that these gestures [should] have in connection with [various] feelings and states.
158-160/ [These movements]: pulling upward, dragging, stretching, taking, killing, desire to allure, summoning, bringing together, separating, protecting, releasing, throwing, shaking, giving, threatening, cutting, piercing, squeezing, and beating.
161/ Hand gestures, according to the theory of theatrical performance, should have three types of movements, namely, upward, sideways, and downward.
162/ These movements of the hands, during their use, should be supplemented by [appropriate] expressions of the eyes, eyebrows, and face.
163/ Experts should use hand gestures in accordance with generally accepted practice, and [in this matter] they should follow their movement, object, sphere, quantity, appropriateness, and manner.
164/ Hand gestures of people of the highest type should move near the forehead, of the middle type—near the chest, while people of the lowest type—below the chest.
165/ For depicting higher beings, hand gestures should have little mobility; for middle ones, medium; and for depicting ordinary persons, abundant mobility of hand gestures.
166/ For corresponding purposes, the hand gestures of people of the higher and middle types should conform to the definition given [in the Śāstras], while the gestures of people of the lower type should conform to common practice and their [own] natural habits.
167/ But when other circumstances or times present themselves [especially], wise people should use hand gestures in the opposite direction.
168-171/ If a person imagines himself as sad, fainting, frightened, seized with disgust or sorrow, weak, sleeping, armless, inactive, drowsy, inert, ill, attacked by fever, seized with panic, attacked by cold, intoxicated, confused, mad, pensive, practicing asceticism, dwelling in a cold region, placed under arrest, running very swiftly, speaking in sleep, suddenly departing, and breaking his nails, he should not use gestures of the hands, but he ought to resort to the Sattvika Representation, as well as to a change of voice corresponding to the various states and feelings.
172/ During the action with words (i.e., when the actor is to deliver his text), the eyes and the gaze should be directed at the points where the hand gestures move, and there should be corresponding pauses, so that the meaning may be [clearly] expressed (lit. seen).
173/ These are hand gestures associated with various types of theatrical actions. Now I will speak about dance hastas (i.e., gestures used in dance).
174/ Caturasra — two hands in Katakāmukhī are extended forward by eight Aṅguli (Aṅguli is approximately a thumb or palm) at a distance [from the chest], both shoulders and elbows at the same level.
175/ Udvṛtta — two hands in Haṃsapakṣa move slowly, like the wave of a palm leaf (fan). Alternative name — Tālavṛnta (palm leaf).
176/ Tālamukha — two hands in the Caturasra position are held inclined toward each other.
177/ Svastika — the hands of Talamukha, crossed at the wrists; but when released after this, they are called Viprakīrṇa.
178/ Aralakhatakamukha — two hands of Alapallava (Alapadmaka) with palms up turn into Padmakosha hands. Another name [for this hasta] is Aralakataka.
179/ Avidhavakrakā — Both hands should perform an elegant (kuṭila) movement after touching [successively] the opposite shoulder, elbow, and arms, while the moving palms [of the hands] should turn backward.
180/ Sūcīmukha — Two hands in sarpāśīra, the thumbs of which touch the middle fingers, should extend the fingertips diagonally.
181/ Recitā — a swift movement of the two hands in Haṃsapakṣa with palms upward. This resembles the ordinary recitā [hasta].
182/ Ardharēcita — The left hand should be the same as in Caturasra, and the right hand as in Rēcita.
183/ Uttānavanacita — Two Tripatāka hands slightly bent diagonally, with shoulders and elbows mobile.
184/ Pallava — two Patāka hands joined at the wrists.
Nitamba — two Patāka hands, extended from the shoulder (?) [to the thigh].
185/ Keśabandha — two hands move from the hair knot (keśabandha) and are held at the sides.
186/ Lata — both arms are extended diagonally to the sides.
187/ Karīhasta — the Lata hand is raised and sways from side to side, while the Tripatāka hand holds the ear.
188/ Pakṣāvan̄citaka — one hand in Tripatāka rests on the waist, and the other on the head.
189/ Pakṣapradyotaka — the hands of Pakṣavancitaka change places (i.e., the hands are placed on the waist in order to be placed on the head, and vice versa).
190/ Daṇḍapakṣa — two hands of Haṃsapakṣa alternately move, and then stretch out like a staff.
191/ Ūrdhvamaṇḍala — both hands perform circular movements near the upper region (i.e., the upper part of the body).
Pārśvamaṇḍala — the same movement performed to one side.
192/ Uromandali — after circular movements, raise one hand upward and lower the other downward, and perform the movements near the chest.
193/ Urahparśvārdhamandala — the hands in Alapallava (Alapadmaka) and Ārala move alternately above the chest and along the sides.
194/ Muṣṭikāsvastika — two hands in Katakāmukha are bent at the wrists and rotate.
195/ Nalinīpadmakośa — the hands alternately move with Vyāvartita and Parivartita Karaṇas.
196/ Ālapallava — two hands supporting Udveṣṭita Karaṇa in their movements.
Ulbaṇa — two hands that should be extended upward and waved.
197/ Lalita — two hands in [Āla]-pallava (Ālapadmaka) move above the head.
Valita — two hands of Latā, crossed at the elbows.
198/ Dance hastas are used to form karaṇas, and hastas such as Patāka should be used to convey the meaning [of words].
199/ [But] sometimes, out of necessity, their usage is interchanged, and these names are determined by their predominant use in drama and dance.
200/ Hastas in dance are of two kinds: single and combined. Now I will speak about the hands in relation to the Karaṇas.
201-202/ Teachers of hand gestures should carefully note the four classes into which all such gestures are grouped. The four classes are: Aveśtita, Udveśtita, Vyāvarita, and Parivartita.
203/ Aveśitā: When the fingers, starting with the first (index), gradually point inward while [the hand] moves in a circle, the karaṇa [thus created] is called Aveśitā.
204/ Udveṣṭita: When the fingers, starting with the first [index], are gradually directed outward during the movement [of the hand], the Karaṇa produced in this way is called Udveṣṭita.
205/ Vyāvartita: When the fingers, starting from the last (little finger), gradually point inward during the movement [of the hand], the Karaṇa thus arising is called Vyāvartita.
206/ Parivartita: When the fingers, starting from the last (little finger), are gradually directed outward while [the hand] moves in a circle, the Karaṇa thus formed is called Parivartita.
207/ Hand gestures in their [various] movements, when applied in drama and dance, should be accompanied by Karaṇas having [the corresponding] expression of the face, eyebrows, and eyes.
208-209/ People engaged in drama and dance prescribe ten [movements] of the hands: Tiryak, Ūrdhvāgata, Adhomukha, Aviddha, Apaviddha, Maṇḍala, Svastika, Añcita, Kuñcita, and Pṛṣṭhaga.
210/ O brahmans, I have finished the brief description of the rules concerning the karaṇas, and now I will speak about the movements of the chest, belly, and sides.
This ends chapter IX of Bharata’s Nāṭyaśāstra, which deals with hand gestures.
Continuation – in the following publications https://t.me/natyashastra 🙏